Iconography of Tirthankaras

1. Risabhanatha

Risabhanatha is the primordial Jina. Being the first Jina, he is called as Adinatha and has bull or sometimes with a dharmachakra at the pedestal as his cognizance^[1]. Of all the Tirthankara images, Risabhanatha appears to be widely popular in Odisha as evidenced by the large number of findings in throughout Odisha.

Risabhanatha images are reported from Odisha State Museum, Baripada Museum, Khiching Museum, Jeypore District Museum, Balasore District Museum, and places like Bagalpur, Chadheibar, Khandagiri, Nibharana, Brahmesvarpatna of Khordha district, Subei, Jeypore and Kachela of Koraput district, Digambara Jain temple of Cuttack town, Pratapanagari, Adaspur of Cuttack district and Jajpur town of Jajpur district, Podasingidi of Keonjhar district, Charampa of Bhadrak district and Ayodhya of Balasore district. Bronze image of Risabhanatha has been reported from Khuntapal now kept in Baripada Museum and Kakatpur now preserved in Odisha State Museum^[2].

The Jain Tirthankara Risabhanatha images found in Odisha are mostly represented either standing in kayotsarga posture or sitting in meditative attitude on single or double petalled lotus pedestals. The pedestals in most cases are supported by spirited lions at the corners. Bull as Ianchana of the Tirthankara is invariably represented at the centre of the pedestal in a couching position. He is flanked by chauri bearers on either side. One of the other important and common features of Risabhanatha in Odisha is the representation of jatamukuta above head and a few strands of which falls over the broad shoulders. Youthful body, broad chest, long hanging arms up to the knee and elongated ears are distinct feature with all standing Risabhanatha images. In cases of seated figures, the broad chest, deep concentration of mind and half closed eyes are perfectly carved.

Risabhanatha images are found either independently or along with twenty four Tirthankara and sometimes with one or two Tirthankara images. He is generally found associated with Mahavira in dvitirthi images where as Parsvanatha added in tritirthi images. Such images are reported from Choudwar, Jajpur and Balasore. He is also represented in one of the cardinal niches in sarvotabhadrikapratima/chaumukha reported from Jajpur, Balasore, Mayurbhanj, Cuttack and Koraput. In some cases we found Risabhanatha image is accompanied by standing miniature ganadharas and purvadharas.^[3] This type of images are reported from Kuansa and Naguan of Jajpur, Panchagaon of Khordha, Digambara Jain temple at Cuttack town, Badia near Ayodhya in Balasore and one at the Jeypore district museum.

Besides, the representation of lotus and champaka marks on either sides of the Tirthankara, mounted or simple elephants at the top, kirtimukha motif, makara-torana supported by gaja-vidalas and trefoil arch behind head of Risabhanatha figures in Odisha are also reported. The auspicious mark srivatsa on the chest of Risabhanatha is a very rare phenomenon in case of Odishan sculpture.

In addition to these Risabhanatha images reported from different parts of Odisha has some unique characteristics are discussed below:

1. Ayodhya Museum, Ayodhya, District Balasore–The most interesting feature of the Risabhanatha image preserved at the museum is the depiction of dotted trefoil arch surmounted by a pidha structure over the head of Tirthankara and a raised outline carved in a low relief from bottom to top of the image.

2. Nilakantheswara Temple, Adaspur, District Cuttack - Astagrahas are depicted on either side of the Tirthankara and lotus and champaka flowers are depicted in between the grahas and Tirthankara image. Similar features are also noticed in the Risabhanatha image found at the Subarneswar temple, Dhia Sahi, Jagatsinghpur.

3. Grameswara Temple, Nibarana, District Cuttack–The most outstanding feature of the seated Risabhanatha image is the depiction of tree foil arch behind his head, finely carved with beaded boarder.

4. Siva Temple at Servants of India society, Choudwar, District Cuttack -Four armed Chakresvari, his Sasanadevi is depicted along with his lanchana bull at the pedestal of Risabhanatha.

5. Barunei Temple, Kantabania, District Jajpur -The significant feature of the image is having only twelve Tirthankaras instead of twenty four Tirthankaras are depicted vertically six on each side of the image last one being the Parsvanatha with snake canopy.

6. Jagulei Gramadevati, Bansabadi, District Jajpur-The most remarkable feature of the Tirthankara here is the mount bull (very small in size) is depicted not below the lotus pedestal but within the petal of lotus pedestal and a well decorated door jamb with beaded and lata/ scroll design noticed at the back side of the image

7. Podasingidi, District Keonjhar–The unique feature of Risabhanatha image now displayed in Odisha State Museum is that it has an inscription engraved on the right side of it. Written in Sanskrit language and in kutila script of the 8^th century CE, it consists of 15 letters in four lines, which read as “Ehasya pratibimbi Risabha Bhattaraka” meaning there by the statue of Risabha Bhattaraka.

8. Subei, district Koraput–The Risabhanatha images found at Subei have a common feature i.e. depiction of Chakresvari along with her lanchana Garuda at the pedestal of the Tirthankara. The presence of the srivatsa mark at the chest is another important feature of these images. This auspicious mark srivatsa is also noticed at the chest of a Risabhanatha image found at Mahakali temple, Purunagarh in Koraput.

9. Kachela, District Koraput–The Sasanadevi Chakresvari along with Yaksha Gomedha is depicted at the pedestal of the Tirthankara image. Similar features are also noticed in few Risabhanatha images preserved in the Jeypore District Museum.

10. Jamunda, District Koraput -Risabhanatha being the mulanayaka is one of the amazing images in Odishan Jain art depicting twenty four Tirthankara in a common slab along with their respective lanchana. Below the lotus pedestal where two Sasanadevis are represented viz., Chakresvari and Ambika which is also a rare feature in Jain sculptures of Odisha.

11. Kamta, District Koraput–The Tirthankara image is now preserved in Jeypore District Museum and Sl. No. is DM-40. The rare feature in the image is the depiction of astagrahas in a row below his pedestal and depiction of a ten armed Chakresvari along with her mount Garuda and Yaksha Gomukha.

12. Jagannatha Temple, Baripada, District Mayurbhanj -The Tirthankara has jata hair style but his usual halo is absent here for the first time. Two beaded chains are hanged on either side of the head of the Tirthankara forming a rectangular shape.

13. Khiching Museum, Khiching, District Mayurbhanj - Kirtimukha design found on the top of the umbrella in one image while in another image the lanchana of the Tirthankara is depicted as dharmachakra^[4] instead of a bull.

14. Odisha State Museum, Bhubaneswar, District Khordha-The Risabhanatha image brought from Kakatpur bears an inscription recoding that it was the gift of one Sri Kara.

15. Risabhanatha image (DM-64). Jeypore District Museum, Koraput-The Risabhanatha image of B. Singhpur now in Jeypore District Museum does not represent the astpratiharyas except the lahchana. The Tirthankara image reported from Podasingidi presently preserved in the Odisha State Museum is not provided with the pair of chauri bearers, the kevala tree, the trilinear umbrella and gandharvas playing with various musical instruments

2. Ajitanatha

Ajitanatha, the second Tirthankara of the Jain pantheon are carved both in dhyanamudra and kayotsarga postures on a plain or lotus pedestals. In Odisha the number of Ajitanatha images are very few and they are reported at Baruadi (Jajpur), Podasingidi (Keonjhar), Charampa (Bhadrak), B. Singpur (Koraput) and Mahavira-Gumpha of Khandagiri hill (Khordha). Except the Podasingidi one all the Tirthankara images are found in seated posture. The image is carved along with all the astpratiharyas and the one found at B. Singhpur is represented with his Sasanadevi Ajitabala (six armed) at the pedestal^[5]. Usually elephant, the lanchana of the Tirthankara is noticed at the center of the pedestal. The Ajitanatha image of Kachela is carved along with the figure of Mahavira on a common pedestal, having common chauri bearers but displaying respective lanchanas of elephant and lion.

At Mahavira-Gumpha of Khandagiri^[6] the Ajitanatha image is not represented with the cymbals or drums played in the palms of invisible gandharvas. Representation of the sun and moon, the tree foiled arch, naga devotees in anjalimudra and heavenly figures offering sacred water from pitchers held in their hands are some of the additional peculiar features of the Tirthankara image. An image of Rohini is found in the left wall of the Barabhuji-Gumpha of Khandagiri and one at Subei depicts the Tirthankara Ajitanatha in dhyanamudra on the top of their heads. The chaumukha of Badasai of Mayurbhanj and Narsingpur of Jajpur also represents Ajitanatha along with its lanchana in one of the cardinal niches.

3. Sambhavanatha

Sambhavanatha is the third Jina in the list of Jain Tirthankaras. Soon after the conception of Jina mother Susena, Sravasti had been abundance of crop and cereals and hence earned the name^[7]. This Tirthankara images are only found at Mahavira, Barabhuji and Navamun-Gumphas of Khandagiri hill. All are carved depicted in yogasana posture and his conventional lanchana horse is depicted at the pedestal. The asta-pratiharyas are depicted in the Tirthankara images and additional features like a fivefold arch and a pitcher are noticed in the Tirthankara image found in Mahavira-Gumpha.^[8]

4. Abhinandananatha

There was rejoicing everywhere after the conception of the Tirthankara. Hence his name is given after birth as Abhinandananatha.

Three images of Abhinandananatha are carved in the caves of Navamuni and Barabhuji of Khandagiri hill only^[9]. They are all seated in meditative attitude with half closed eyes. His lanchana ape is depicted at the pedestal. Lotus pedestal supported by spirited lions, kevala tree(piyala), chauri bearers, a trilinear umbrella over head, cymbals played through invisible hands, oval halo and flying garland bearers are the general features of the image.

5. Sumatinatha

The Jain scripture mentions that during the period of pregnancy, the mother of the Tirthankara was provided solution to many complex problems. So, the Tirthankara names fall after the intellectual pursuit of his mother as Sumatinatha. The Tirthankara’s lanchana is a goose which has a clear association with the same symbol of Saraswati, the Goddess of intelligence.

There are only two images of Sumatinatha in yogasana pose are noticed in the inner walls of Barabhuji and Mahavira-Gumpha of Khandagiri hill. Besides his usual lanchana, fly-whisk bearers as attendants, lotus pedestal supported by lions and the trilinear umbrella, kevala tree (Priyahgu) are the common attributes of the two images. Priyahgu, cymbals played in palms of hands, oval halo and flying figures with garlands are the general features represented in the images. Miniature figure of the Jaina, chakra or wheel and a pair of elephants pouring showers of water or merely standing at the top of the Tirthankara as available elsewhere are conspicuous in their absence with Sumatinatha^[10].

6. Padmaprabha

The beauty of the Tirthankara after the birth resembled that of a lotus flower. Thus, his name was given as Padmaprabha as per the Jain traditions. The images of Padmaprabha, the 6^th Jain Tirthankara are reported from Ada of Balasore district, Charampa of Bhadrak district, at Digambara Jain temple in Cuttack city and within the Barabhuji-Gumpha and Mahavira-Gumpha of Khandagiri hill in Khordha district both seated and standing positions. The two figures at Barabhuji and Mahavira Gumpha are seated on lotus pedestals supported by lions and his emblem full blown lotuses are carved below. In case of the standing figures of Jain temple at Cuttack and Charampa, no separate emblem has been depicted where as in Ada a full blown lotus carved as a shape of a wheel is notice below the lotus pedestal of the Tirthankara. Besides, the figures of the Tirthankara found from Charampa and Mahavira-Gumpha of Khandagiri the conventional chauri bearers, trilinear umbrella, flying gandharvas with garlands, etc. are represented with figures of this Tirthankara in other places as reported earlier.

7. Suparsvanatha

Only two images of Suparsvanatha, the seventh Tirthankara are found in whole Odisha particularly at the inner walls of Barabhuji-Gumpha and Mahavira-Gumpha^[11] of Khandagiri hill. Both the images are found seated in dhyanamudra and all the asta -pratiharyas are represented in the images except some variation in their lanchana. The cognizance svastika is available in case of the image at Mahavira-Gumpha where as it is found a six petalled lotus pedestal. The images are also identified on the basis of one, five or nine hooded snake canopy over his head which distinguishes him from the seven fold serpent hood of Parsvanatha. Tree foiled arch, emblems flanked by auspicious jars and decorative creeper motif spreading on either sides of the Tirthankara are some of the special features found in the figure at Mahavira-Gumpha. There is a seated Tirthankara image having a snake canopy of twelve hoods at a sub-shrine in Jagannatha temple complex of Baripada, district Mayurbhanj. Though the lanchana is not clear but the image can be identified as Suparsvanatha.

8. Chandraprabha

Chandraprabha, the eighth Tirthankara was possessed the luster of moon and of bright complexion, when he was born. Thus, the moon or crescent became not only his symbol but he was also given the name as Chandraprabha. Chandraprabha images are reported from Abhana and Ada of Balasore district, Jajpur, Nuadhana of Jagatsinghpur, Jamunda of Koraput district and lastly found at the Navamuni, Barabhuji and Mahavira-Gumpha of Khandagiri hill. Besides, two bronze images of Chandraprabha recovered from Achutrajpur are now preserved in the Odisha State Museum^[12]. Both seated and standing images of Chandraprabha are found representing the usual asta-pratiharyas. His usual cognizance i.e. the crescent moon is generally depicted at the pedestal. The image found at Jamunda is carved along with his Yaksha and Yakshi viz., Mahayaksha and Ajitabala on either side of the Tirthankara. Besides, a man is shown playing with flute on the left side of the Tirthankara just above the chauri bearer. The bronze image found from Achutrajpur^[13] stands in kayotsarga pose with long hanging arms and fingers lightly touching the lowest part of the thigh. The crescent moon his usual symbol is carved on the front side of the pedestal.

9. Suvidhinatha

The Tirthankara Suvidhinatha or otherwise called Puspadanta is worshipped as ninth Jina by both the sects of Jainism. The name ‘Suvidhinatha’ was given to him because his birth eventually brought “good order” (suvidhi) to the distracted family. The other name Puspadanta^[14] was derived from the fact that the Jina’s teeth resembled the buds of a flower (puspa).

In Odisha, the image is found depicted in the caves of Barabhuji-Gumpha and Mahavira-Gumpha of Khandagiri hill only. The Tirthankara image depicted in the Mahavira-Gumpha occupies the fourteenth position instead of the conventional position of nine in the twenty fourth Jain Tirthankara panel^[15]. Alligator as lanchana and Niiga (or Malli), the tree associated with his kevala knowledge along with other components of astpratiharyas are presented here which are the important common features found in both the images. Symbolical representation of lotus flowers and a semi-circular arch over head are the other distinct feature of the Tirthankara image found in Mahavira-Gumpha.

10. Sitalanatha

The name Sitala was given to him because when the king’s body was hot, become cool at the touch of the queen, while the Jina was in her womb^[16]. The srivatsa symbol stands for suspiciousness and blessedness is associated with him as lanchana.

Only two images of the tenth Tirthankara Sitalanatha are found depicted one each in Barabhuji-Gumpha and Mahavira-Gumpha of Khandagiri hill^[17]. The Tirthankara depicted at Mahavira-Gumpha is in kayotsarga posture while the other one at Barabhuji-Gumpha is in dhyanamudra. The lanchana in both the cases are not clear it seems more akin to a vajra rather than the conventional srivatsa. The astpratiharyas are clearly depicted in both the figure and Yakshi Manasi^[18] is specially added the figure in Barabhuji-Gumpha. In addition to that pitchers flanking the emblem below pedestal, tree foiled arch with makara-torana, parrots, Nandipada symbol and Naga figures render more iconographical peculiarities to the Tirthankara of Mahavira-Gumpha.

11. Sreyansanatha

The eleventh Tirthankara is named as Sreyansanatha or the lord of the noble virtues because when the Jina in the womb, he enabled her mother to drive out an evil spirit doing good to the world^[19]. In Odisha, the image of Tirthankara is found in Barabhuji-Gumpha in dhyanamudra whereas in Mahavira-Gumpha he is standing in kayotsarga posture. He is positioned in the twenty-third place in Mahavira-Gumpha is a rare occurrence. The common attributes of both the figures are rhinoceros as the conventional lanchana, chauri bearers, lotus pedestal supported by lions, trilinear umbrella and cymbals played with invisible hands etc. The flying vidyadharas are depicted with garlands, Tumbar or Tindika as the kevala tree and oval shaped prabhamandala are represented only with the image in Barabhuji-Gumpha. Similarly pitchers flanking the lanchana below pedestal, symbolical representation of lotus flowers and the semi-circular arch over head of the Tirthankara are the additional features depicted with the Tirthankara image in Mahavira-Gumpha but not found in case of Mahavira-Gumpha^[20].

12. Vasupujya

The Tirthankara called as Vasupujya because he was the son of Vasupujya or because he was the object of worship of Indra^[21]. A total four numbers of Tirthankara Vasupujya images are reported from Odisha. The two images are reported from Navamuni-Gumpha and Barabhuji-Gumpha in yogasana posture and the one in Mahavira-Gumpha is in kayotsarga pose^[22]. On the other hand the fourth one reported from Achutrajpur^[23] now in Odisha State Museum is made of bronze is found seated in dhyanamudra along with his Yaksha and Yakshi. They are all represented with buffalo as the mark of cognizance below the lotus pedestals supported by lions in addition to the trilinear umbrella and chauri bearers.

Cymbals played in invisible hands appear in case of two figures only and Patalika, the tree associated with his kevala knowledge, oval shaped halo behind head and flying figures with garlands in hands are depicted with the Tirthankara image of Barabhuji-Gumpha only. The vacant space at the top of this figure is represented with tridents, pitchers, creepers and inverted parrots are added to its decorative beauty.

The Tirthankara Vasupujya of Achutrajpur represents in association with Yaksha Kumara and Sasanadevi Gandhari and in this image more emphasis is given to the Yaksha and Yakshi rather than the Tirthankara which is smaller in dimension than the others. The robe less Tirthankara seated cross-legged in yogamudra with both soles visible and have short protruding lips, bulging eyes and elongated ears. Against the front side of the pedestal there are seven male figures in a row.

13. Vimalanatha

The Tirthankara is said to have gained his name as Vimala because of his clearness of intellectual thinking, with which he endowed his mother before his birth^[24].Two figures of Vimalanatha are depicted on the inner walls of Barabhuji-Gumpha and Mahavira-Gumpha. The Tirthankara in Barabhuji-Gumpha is seated in yogasana pose while in Mahavira-Gumpha standing in kayotsarga posture^[25]. Boar, as the mark of cognizance, chauri bearers, lotus pedestals supported by lions, trilinear umbrella and flying garland bearers are the common features in the Tirthankara images. Jambu (black-berry), cymbals played through palms of the invisible hands and oval shaped prabhamandala are the additional attributes depicted with the figure in Barabhuji-Gumpha. But the notable representations of the image in Mahavira-Gumpha are tree foiled arch flanked by gandharvas, Naga devotees in anjali hasta, spouted jar and pitcher.

14. Anantanatha

The Jain traditions assert that the Tirthankara obtained his name as Ananta as his mother had seen an endless (ananta) necklace of pearl in dream while the Tirthankara is in her womb. The emblem of the Tirthankara is hawk according to Svetambaras and bear according to Digambaras^[26]. Two figures of Anantanatha have been reported in dhyanamudra on lotus pedestals in Barabhuji and Mahavira-Gumpha of Khandagiri hill in Odisha^[27]. The one in Barabhuji-Gumpha though depicted in fourteenth place in the Tirthankara series but depicted in ninth position in Mahavira-Gumpha. A bird having more affinity with a peacock, instead of a hawk or falcon as the mark of cognizance of Tirthankara is found in Mahavira-Gumpha but in Barabhuji-Gumpha he has the mount of a porcupine. The asta-pratiharyas viz., trilinear umbrella, chauri bearers, Asvatha as kevala tree, cymbals played in invisible hands, oval shaped halo are the general iconographic peculiarities of these images.

15. Dharmanatha

According to the Jain traditions during the period of the pregnancy, the Jina’s mother was engrossed in religious deeds earning him the name of Dharmanatha. The symbol by which Dharmanatha is to be recognized is vajra-danda or thunder-bolt^[28]. In Odisha he is found depicted one each in Barabhuji-Gumpha and Mahavira-Gumpha with vajra as the mark of cognizance in the lotus pedestals^[29]. The other common features in both the images are lotus pedestals supported by lions, trilinear umbrella, cymbals played in invisible hands and chauri bearers. A tray containing offerings, a spouted jar and the semi-circular arch over the head of the Tirthankara are some additional feature found only in the Tirthankara image carved in Mahavira-Gumpha. On the other hand Dadhiparna as the kevala tree, oval halo and flying garland bearers are the additional representations noticed with the image in Barabhuji-Gumpha.

16. Santinatha

According to the Jain tradition^[30], Santinatha was not only revived the age old religion which is in danger of falling into oblivion but also consolidated well so as to never disappear again. He was the first Tirthankara to become a Chakravarti or emperor of the whole of India. His mother by sprinkling the santi water among the sufferers in the kingdom was able to stop course of the epidemic. Santinatha, the 16^th Tirthankara was therefore called as the “Lord of Peace”. The cognizance of the Tirthankara is a deer.

Images of Santinatha, the sixteenth Tirthankara of the Jain pantheon are reported from places like Charampa of Bhadrak district; Ada, Manikchauk, and Martasol of Balasore district; Khiching Museum of Mayurbhanj district; Podasingidi of Keonjhar district; Digambara Jain temple in Cuttack city of Cuttack district; Kachela and Jeypore District Museum of Koraput district; Sitalesvara, Bada bazar, Dasasvamedha ghata, Kantabania and Permanandapur of Jajpur district; Nasik Kotian of Jagatsinghpur district; Khandagiri hill of Khordha district; Tala Beguniapada and Ramachandrapur of Puri district.

The Tirthankara is found seated yogasana as well as standing in kayotsarga posture on a double or single petalled lotus pedestals and in some cases pedestals are found supported by a lion at each corner. The Tirthankara are generally carved with deer as the mark of cognizance in addition to the chauri bearers, kevala tree, trilinear umbrella, circular or elliptical prabhavali, flying garland bearers, cymbals drums played with invisible hands and trivali marks at the neck etc. The image of Mahavira-Gumpha does not display prabhamandala, the flying figures with garlands and cymbals played in hands^[31]. The Tirthankara image of Manikchauk is provided with a canopy of five hooded snake over head, a very peculiar iconographic feature which is generally found in case of the Tirthankara Suparsvanatha. The image found at Martasol has similar representation like that of one found from Manikchauk except the depiction of five hooded snake canopy. The snake canopy is replaced by Mahamanasi, the Sasanadevi of the Tirthankara. She is found depicted sitting in padmasana and flanked by two elephants at the top pouring sacred water. She displays varada mudra in one hand and lotus on the other. A makara-torana supported by gaja-simhas with rows of pearls falling from their mouths added the beauty and grace to the entire composition.

The upper portion of the image is missing in case of the Tirthankara image found at Podasingidi. Here the image is carved very artistically as represented in the remaining portion which represented the Tirthankara stands over a full blown lotus, flanked by chauri bearers and lanchana deer is flanked by two crouching lions engraved below the lotus pedestal. For the first time in Jain sculptures of Odisha, two Sasanadevis viz., Ambika and Mahamanasi with their all attributes in lalitasana on the either side of the Tirthankara near his feet are found.

The Tirthankara image found at the Digambara Jain temple in Cuttack city is represented with the usual features in addition some peculiar features like the chauri bearers are standing over elephants and astagrahas are depicted on either side of the Tirthankara.

Depiction of astagrahas in the Tirthankara images is a common phenomenon in Jajpur as evidences in the Tirthankara image found at Sitaleswara temple, Akhandaleswara temple of Jajpur town area and Kamudei pitha in the village of Parmanandapur of Vyasanagar area. The most important feature of the image found in Dasasvamedha ghata is that it wears a beaded chain around the neck, which is a rare occurrence in any Jain Tirthankara image and all the twenty four figure of Tirthankaras in kayotsarga posture are represented in pairs on both the sides of the image^[32]. Eight Tirthankara images are also seen in kayotsarga posture in diminutive size vertically and four in each side of the Tirthankara at Kantabania. Besides astagrahas, a plain door jamb with conical finial at the top on both side and an oval halo behind the head of the Tirthankara image is noticed at Kamudei pitha of Vyasanagar area. Circular hallows are provided at the upper portion of the image which indicates the image probably hanged in a higher place.

The presence of Yakshi Mahamanasi in the Tirthankara image is also another important feature. The two armed Sasandevi is found depicted in the Tirthankara image reported from Martasol, Jajpur, Tala Beguniapada, Podasingidi and Jeypore district museum.

17. Kunthanatha

Jain tradition preserved in their literature many accounts regarding the origin of the name of the Tirthankara Kunthanatha. He was named so as because the Jina’s mother saw in dream a heap of jewels known as Kunthu, while he was in her womb^[33]. Secondly, he stood firmly on the earth hence called Kunthanatha^[34]. Thirdly, people began to show great kindness to insects (Kunthu) as a result he was so named^[35].

Only two figures of Kunthanatha so far have been noticed in Odisha and both are depicted in the inner walls of Barabhuji and Mahavira-Gumphas of Khandagiri hill^[36]. Both are seated in dhyanamudra on lotus pedestals supported by lions and goat as their symbol of cognizance is found in front of the pedestals. The common features in both the images are chauri bearers, trilinear umbrella, Tilak taru as the kevala tree. This kevala tree in case of Mahavira-Gumpha is represented in shape of creepers spreading to both directions of the semi-circular arch over the head of the Tirthankara. Cymbals played with invisible hands of gandharvas, flying vidyadharas with garlands and an oval shaped halo behind the head of the Tirthankara are the other features only found in the image of Barabhuji-Gumpha.

18. Aranatha

The name of the Tirthankara is named because during the pregnancy, his mother saw in the dream a spoke of wheel (ara). Aranatha had the cognizance of nadyavarta symbol according to the Svetambaras and fish according to the Digambaras.^[37]

Two figures of the eighteenth Tirthankara, Aranatha are only reported from the Barabhuji-Gumpha and Mahavira-Gumpha of Khandagiri. The Tirthankara is seated in meditative attitude on single or double petalled lotus pedestals supported by lions in both the cases. The mount fish is depicted in case of Mahavira-Gumpha where as an ant eater in Barabhuji-Gumpha below their corresponding pedestals. All the astpratiharyas are represented in the Tirthankara images and in addition to that depiction of the sun and moon^[38] with the Tirthankara of Mahavira-Gumpha is a noteworthy feature.

19. Mallinatha

The nineteenth Jina Mallinatha, a female in Svetambara traditions and is worshipped as male by the Digambaras. The Tirthankara is called Malli because when she was in her mother’s womb, the mother had a pregnancy desire for flower garlands. According to the Digambara traditions, he was called as Malli as he had conquered the wrestler (malla) in the form of infatuation^[39].

The Tirthankara Mallinatha is only represented in the group of sculptures of both Barabhuji and Mahavira-Gumpha of Khandagiri hill with pitcher as the mark of cognizance seated in dhyanamudra^[40]. The common feature of the images are pedestals supported by lions, chauri bearers, trilinear umbrella, Asoka as kevala tree, flying garland bearer and oval shaped halo.

20. Munisuvrata

His name originated from the fact that during the pregnancy the queen mother was devoted to religious practices (vrata) like a pious monk (muni-vat), which endowed him with the name of Suvrata or Munisuvrata^[41]. In Odisha only two images of Munisuvrata are found at the back walls of Barabhuji-Gumpha and Mahavira-Gumpha of Khandagiri hill^[42]. Both the figures are seated in dhyanamudra on lotus pedestals supported by lions on which their marks of cognizance i.e. Tortoise are also depicted. The astpratiharyas are generally represented in the images at Khandagiri hill. The Tirthankara occupies the twenty-first place in the in Mahavira-Gumpha instead of its usual twentieth position as per the Jain tradition.

21. Naminatha

While the Jina was in the mother’s womb, his father’s enemies bowed down (pranam) in submission. Because of the unexpected surrender of the enemies, the Jina was given the name of Nami^[43].

In Odisha two Naminatha images, the twenty-first Tirthankara are reported. At Barabhuji-Gumpha the Tirthankara is placed in their conventional position whereas in twentieth position at Mahavira-Gumpha of Khandagiri hill^[44]. Both of them are carved in yogasana posture on lotus pedestals supported by lions and engraved with marks of cognizance i.e. blue lotus. They other common features of the images are chauri bearers, trilinear umbrella and cymbals played through palms of gandharvas, Vakul as the kevala tree, prabhamandala and flying garland bearers.

22. Neminatha

According to the Jain traditions, Neminatha was the cousin of Krishna and Balarama. According to Uttarapurana, Indra called him Neminatha because the Jina was as it were the spoke(nemi) of the Wheel of True Law. He was also called as Aristanemi because, while he was in the womb, his mother saw dream of a wheel of black jewels^[45].

In Odisha Neminatha, the twenty-second Tirthankara is found independently as well as associated with Yaksha Gomedha and Yakshi Ambika. As independent figure they are only found in Navamuni, Barabhuji and Mahavira-Gumphas of Khandagiri hill^[46]. In this case Neminatha is carved seated in yogasana pose are invariably placed at the top of the mango tree seen behind the twin figures of Yaksha Gomedha and Yakshi Ambika or independent images of Ambika, his Sasanadevi. In case of independent images his conventional lanchana, the conch is placed below the lotus pedestal as like in Mahavira-Gumpha. But in case of Navamuni and Barabhuji-Gumphas, an eight petalled lotus or dharmachakra is carved as lanchana. The lotus pedestal of the image of Mahavira-Gumpha though supported by a pair of peacocks it is replaced by lions in case of Barabhuji-Gumpha. The images bear all the astpratiharyas in representation.

23. Parsvanatha

Parsvanatha, the twenty third Tirthankara is considered as a historical figure and the real founder of the Jain faith. As per the Jain tradition he earned his name as he touches all sides (parsva) of knowledge. Secondly, his mother was seen a black cobra in the dream while the Jina was in her womb^[47].

The twenty third Tirthankara, Parsvanatha seems to be extremely popular in Odisha evidenced by large number of images from the nook and corners of Odisha. The Tirthankara images are reported at places like Charampa and Okara of Bhadrak district; Ada, Ayodhya, Dandapalasa, Kabara, Kupari, Shergarh, Kansa, Nilagiri and Pundal of Balasore district; Khiching, Baripada and Koisali of Mayurbhanj district; Podasingidi, Yogichata, Anandapur, Bancho, Vaidakhia and Sainkul of Keonjhar district; Cuttack Jain temple, Pratapanagari, Bhanapur, Baideswara, Choudwar of Cuttack district; Khandagiri, Sisupalgarh, Turintira and Bagalpur of Khordha district; Nuadhana, Manapur-Gadhama and Kundeswara of Jagatsinghpur; Jeypore, Charmula and Jamunda of Koraput district; and Shiripura, Jajpur town, Narasinghpur, Kantabania, Bansabadi, Ijapur, Tarangasagarpur, Kuansa, Tentulidiha and Madhupur of Jajpur district. These images are premeditated both seated in yogasana or standing in kayotsarga posture on plain, single or double petalled lotus pedestals. The Tirthankara is identified by the canopy of a seven hooded snake over his head. In case of the standing figures, the coils of the snake are gathered behind the Tirthankara, in several folds fashioned symmetrically.

Chauri bearers are a common feature of all Parsvanatha images but they are not shown with some figures available at places like Bada Jagannatha temple (Baripada), Khiching and Podasingidi. These chauri bearers on either side of the image of Vaidakhia, now preserved in the Odisha State Museum arc depicted standing on ele-phants. Representation of other Tirthankaras in miniature size both seated and standing on either side of the Tirthankara are noticed in rare cases viz., the Parsvanatha image of Yogichata has all the twenty-three other Tirthankaras where as in one Parsvanatha image preserved at Khiching museum displays six more Tirthankara figures along with Parsvanatha. Cymbals played in invisible hands, though a normal feature are not envisaged in the Parsvanatha images reported from Sainkul, Bada Jagannatha temple, Charamula, Jamunda and Podasingidi^[48].

Depiction of astagrahas seated in yogasana posture displaying conventional attributes are available in the Tirthankara images reported from Cuttack Jain temple, Kantabania and Hamsesvara temple of Jajpur district and Kansa of Balasore district. Two Parsvanatha images one at Podasingidi and the other of Pratapanagari are fashioned within toranas fitted with makara heads.

Padmavati, the Sasanadevi of the Tirthankara is shown depicted at the center of the pedestal of the Tirthankara image of Jamunda and Jeypore in Koraput district and Kabara in Balasore district. Trivali, the auspicious mark in the neck of the Tirthankara are only found the images of Turintira of Khordha district and Nuadhana of Jagatsinghpur district. Another important episode that related with the life history of Parsvanatha i.e. Kamta’s attack is narrated in the sculptures of Parsvanatha are found from Tentulidiha of Jajpur district, Ada, Ayodhya and Shergarh of Balasore district.

The two seated Parsvanatha images of Navamuni-Gumpha of Khandagiri represent a pitcher (kumbha) and the other an eight petalled lotus (or dharmachakra) below their pedestals. The two bronze idols of Parsvanatha, one from Bhanapur and other from Achutrajpur are reported^[49]. The bronze figure of Parsvanatha of Bhanapur only shows the auspicious srivatsa mark on the chest.

24. Mahavira

Mahavira, the twenty fourth Tirthankara is considered as the real founder of Jain religion which was established by Risabhanatha, the first Jain Tirthankara. According to Jain traditions the Tirthankara is named as Vardhamana and Mahavira because the treasure of the family increased when the Jina was in the womb of his mother. Hence, after birth the child was named as Vardhamana (i.e. increasing). He was also called Vira or Mahavira in as much as he specially sent away the deeds (karmas). His symbol of the lion is the most befitting mark of his spiritual heroism.

In Odisha he is as popular as like that of Risabhanatha and Parsvanatha as evidenced by the finding of a number of images^[50]. He is depicted either independent figure or associated with Risabhanatha in dvitirthi images and also found in chaumukha niches. Mahavira images are reported from the places like Charampa of Bhadrak district; Ayodhya and Manikchauk in Balasore district; Podasingidi of Keonjhar district; Digamber Jain Temple of Cuttack city, Pratapnagari and Athagarh of Cuttack district places like Subei, Kachela, B. Singhpur, Boriguma, Jamunda and Jeypore of Koraput district; Sitaleswara temple of Jajpur town, Naguan of Jajpur district and Khandagiri hill of Khordha district. The dvitirthi images like Risabhanatha and Mahavira in a common stone slab and with their respective lanchana in the pedestals are noticed in the places like Adyashakti temple of Kantola in Athagarh and Digambara Jain temple of Choudhury Bazaar of Cuttack district and from Sitaleswar temple in Jajpur town of Jajpur district. Mahavira is also found depicted in chaumukhas as evidenced from Manikchauk of Balasore district and Naguan of Jajpur district.

These figures are shown invariably carved seated in meditative attitude or standing in kayotsarga pose on a plain, single or double petalled lotus pedestals supported by crouching lions. Lion as the conventional mark of cognizance appears carved in the centre of these pedestals. Chauri bearers, trilinear umbrella, cymbals or drum played in hands, Sala tree as kevala knowledge and halo are the common feature of all these images. But, the image at Mahavira-Gumpha does not display any halo or divyadvani symbols. The Mahavira figure preserved in the Bhairava temple of Borigumma, Jamunda and the ditirthi image of Risabhanatha and Mahavira at Adyashakti temple of Athagarh are the only images display astagrahas on the Tirthankara images. The figure of Mahavira of B. Singpur and Jamunda displays the dharmachakra below the pedestal and a makara torana at the back. The Mahavira image in the Odisha State Museum represents pair of goose, gandharvas and kinnaras beating cymbals and blowing conch shells, champak and lotus medallions as well as a decorative torana fitted with makara heads^[51].

The auspicious srivatsa mark is depicted on the chest of the Tirthankara of Subei in Koraput district only. His yaksa Matanga is depicted on an elephant only on the figures of Kachela and B. Singpur. Similarly, the Yakshi Sidhyika, the Sasanadevi of the Tirthankara is noticed at the pedestal of the figures of Subei, Kachela, Bhagavati temple of Jeypore, B. Singpur and Boriguma, all from Koraput district and two images in the Odisha State Museum.

Footnotes and references:

[1]:

B.C. Bhattacharya, The Jaina Iconography, Delhi, 1974, pp.34-35.

[2]:

K.S. Behera, op.cit., pp.48-49.

[3]:

Ibid.

[4]:

R.P. Mohapatra, op.cit., p. 207.

[5]:

Ibid., pp.208-209.

[6]:

Ibid.

[7]:

S. Nagar, op.cit., p.95.

[8]:

Op. cit., p.209.

[9]:

Ibid. 210.

[10]:

Ibid.

[11]:

R.P. Mohapatra, Udayagiri and Khandagiri Caves, Delhi, 1981, pp.175-176.

[12]:

R.P. Mohapatra, 1984, op.cit, pp.211-212.

[13]:

D. Mitra, Bronzes from Achutrajpur, Delhi, 1978, pp.49-50.

[14]:

B.C. Bhattacharya, op.cit., p.65.

[15]:

R.P. Mohapatra, 1984, op.cit., p.213.

[16]:

U.P. Saha, op.cit, p.145.

[17]:

Op.cit.

[18]:

S. Nagar, op.cit., pp.107-108.

[19]:

Ibid.

[20]:

R.P. Mohapatra, 1984, op.cit., pp.213-214.

[21]:

U.P. Saha, op.cit., p.148.

[22]:

Op.cit.

[23]:

D. Mitra, op.cit., pp.50-51.

[24]:

S. Nagar, op.cit., p.111.

[25]:

R.P. Mohapatra,1984, op.cit., p.215.

[26]:

B.C. Bhattacharya, op.cit., p.50.

[27]:

Op.cit.

[28]:

S. Nagar, op.cit., p.113.

[29]:

R.P. Mohapatra,1984, op.cit., p.216.

[30]:

Op.cit., pp.114-115.

[31]:

R.P. Mohapatra, 1984, op.cit., pp.216-217.

[32]:

Ibid.

[33]:

U.P. Saha, op.cit., p.157.

[34]:

B.C. Bhattacharya, op.cit., p.53.

[35]:

S. Nagar, op.cit., p.120.

[36]:

R.P. Mohapatra, 1984, op.cit., 217.

[37]:

U.P. Saha, op.cit., p.158.

[38]:

Op.cit., p.218.

[39]:

U.P. Saha, op.cit., pp.159-161.

[40]:

R.P. Mohapatra, 1984, op.cit., p. 218.

[41]:

Op.cit., pp.161-163.

[42]:

R.P. Mohapatra, 1981, op.cit., p.180.

[43]:

U.P. Saha, op.cit., p.163.

[44]:

R.P. Mohapatra, 1984, op.cit., p.219.

[45]:

Op.cit., pp.164-170.

[46]:

R.P. Mohapatra,1981, op.cit., p.135.

[47]:

S. Nagar, op.cit., p.135.

[48]:

R.P. Mohapatra, 1984, op.cit., pp.220-222.

[49]:

Ibid.

[50]:

G.C. Chauley, op.cit.,p.50.

[51]:

R.P. Mohapatra,1984, op.cit., pp.222-223.